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d he is backed by Lord Penzance, that aged Judge. The way is short. These pictures of rural life and character were interpolated into the plays of Bacon by his collaborator, William Shakspere, actor, "who prepared the plays for the stage." This brilliant suggestion is borrowed from Mr. Appleton Morgan. {103a}
Thus have these two Baconians perceived that it IS difficult to see how Bacon obtained his knowledge of certain worlds and aspects of character which he could scarcely draw "from the life." I am willing to ascribe miracles to the genius of Bacon; but the Baconians cited give the honour to the actor, "who prepared the plays for the stage."
Take it as you please, my Baconian friends who do not believe as I believe in "Genius." Shakespeare and Moliere did not live in "Society," though both rubbed shoulders with it, or looked at it over the invisible barrier between the actor and the great people in whose houses or palaces he takes the part of Entertainer. The rest they divined, by genius.
Bacon did not, perhaps, study the society of carters, drawers, Mrs. Quickly, and Doll Tearsheet; of copper captains and their boys; not at Court, not in the study, did he meet them. How then did he create his multitude of very low-lived persons? Rustics and rural constables he MAY have lovingly studied at Gorhambury, but for his collection of other very loose fish Bacon must have kept queer company. So you have to admit "Genius,"--the miracle of "Genius" in your Bacon,--to an even greater extent than I need it in the case of my Will; or, like Lord Penzance, you may suggest that Will collaborated with Bacon.
Try to imagine that Will was a born poet, like Burns, but with a very different genius, education, and environment. Burns could easily get at the Press, and be published: that was impossible for Shakespeare at Stratford, if he had written any lyrics. Suppose him to be a poet, an observer, a wit, a humorist. Tradition at Stratford says something about the humorist, and tradition, IN SIMILAR CIRCUM